Things wrought by the United Crafts for the Cobb-Eastman Company.

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r^WING to the fact that household fur-
^^ nishings purporting to be made by
the United Crafts have been offered for sale
in various places throughout the country, it
has seemed advisable to adopt a trade-
mark by which our productions may
be identified* The device of the joiner^s
compass with the Flemish legend *^AIs ik
kan/' together with the signature of Gus-
tave Stickley, will appear upon every pro-
duct of the workshops of the United
Crafts* This device is a special safe-guard
for the purchaser, and insures the authen-
ticity of every article upon which it appears*

THE UNITED CRAFTS,
EASTWOOD,

THE HE^TRY FRAJ^CIS du POJ^

fVIMTERTHUR MUSEUM

LIBRARIES

Digitized by the Internet Archive

in 2011 with funding from

LYRASIS IVIembers and Sloan Foundation

http://www.archive.org/details/thingswroughtbOOunit

TKin^s Wrou^Ht

■"W^HEN William Morris said that sim-
^^ plicity is the one thing needful in
furnishings, he spoke from the fullness of
artistic perception and experience* He found
the middle-class homes of England ugly,
lacking in comfort, and ostentatious* He
carried into them a love of that beauty
which results from fitness, sound construc-
tion, purity of form and color, and sym-
metry of design* He offered to those for
whom he worked, alike with hand and
brain, well adapted, quiet and suggestive
interiors, the occupants of which might en-
joy easy lives and unhampered thought,
while receiving pleasurable sensations from
the objects by which they were surrounded*

The first law of this master
craftsman was :

**Have nothing in your
houses that you do not know to be useful,
or believe to be ornamental*^'

From this one principle he
built up his entire system of house furnish-
ing and decoration* He recognized that all
considerations should be subordinated to
the service of practical needs. The house
or the room fitted, furnished and arranged as
a place of display was to him inconceivable.
But yet, in common with all persons of

Judgment, he looked upon luxury as a rela-
tive term. The practical needs of one man
he regarded as the superfluities of another.
He demanded that a home should express
the station and the individuality of its occu-
pants ; since if so planned, it would respond
to his first essential :

The service of practical needs*

In the middle-class home,
practical needs are supplied by conveniences
for reading, writing, drawing, sewing ; for
the making of the toilet and the service of
meals ; for comfort in sitting, reclining and
sleeping.

With these requirements as a
basis, it is easy to compose a list of the
necessary furnishings of a home* But al-
though provided with such list, it is not
easy for one to secure those articles which
shall represent his station in life, and re-
spond to his daily needs. The difficulty
experienced results from the principle hith-
erto maintained in those crafts which sup-
ply the objects of ordinary and constant
use. Imitation has largely been the aim
set before designers and workmen : imita-
tion of qualities pleasing to the eye, without
regard to usefulness, expense, or adapta-

"A new broom sweeps clean ". Our Wall Paper and
Decorating Department is the new broom, and our clean
stock of the latest and best in mural hangings is sweeping
in the effect on those of our patrons who are contemplating
interior decorations.

The COBB-EASTMAN COMPANY.

bility to place. This false principle has
generated the discomfort and the inartistic
conditions which prevail in those homes
wherein the fittings imitate to the extent
permitted by the expenditure incurred, the
appointments of the royal courts of the
seventeenth and eighteenth centuries; the
general effect reached being that of rooms
or apartments designed to receive guests and
occupants so far above the toil, either men-
tal or physical, which is attached to modern
life, as to suggest comparison with King
SoIomon^s lilies. Shapes of exaggerated
slenderness ; sofas and chairs adapted from
the furnishings of palaces ; stuffs more or
less cheaply reproducing, by means of
machine processes and commercial dyes,
the fabrics once designed and woven by
artist- workmen for the delight of a parasitic
class : these are the objects which make
their foreign, intrusive presence felt to-day
in a large proportion of American middle-
class homes. Therefore, a real work of
value lies in the production of such house-
hold furnishings as shall at once bring com-
fort and aesthetic pleasure into places which
are now barren of both requisites to a happy
and natural life.

One who would enter upon

this work must pledge himself to set aside
imitation. He must come to his drawing-
board or working bench dispossessed of the
insistent memories of old models* He must
vigorously represent to himself the needs of
the typical individual of the present age : that
is, the man or woman whose life is so har-
moniously made up of the elements of work^
rest, and recreation that it is impossible to
separate it into its component parts* Labor,
which was formerly regarded as the origin^
curse pronounced upon Adam, ts gradually
becoming known under its true character of
a supreme blessing; while the home is but
a workshop and producing-place, from
which issue the real things, immaterial and
visible, which assure tne well-being and
promise the advancement of society.

When once this truth shall
be widely accepted, the maker and the user
will find their interests unified* They will
co-operate in increasing comfort, in creating
beauty, and in saving time from the care of
superfluous objects. Such will be the era
of plain living and high thinking, whose
advent is no Utopian dream, but a slowly
advancing reality now recognized by all
economists and artists who are worthy of
these high titles* This ** going toward the

ox

people/^ this movement toward simplicity in
all that pertains to the appointment of the
home has recently been well expressed by
an English architect, who says that, if
judged by the ^*the test of reposefulness,
which is the first essential in the form and
design of any decorative object, the average
farm-house kitchen has an artistic value far
beyond that of ninety-nine out of every
hundred drawing rooms in the United
Kingdom/'

This statement, emphatic,
even exaggerated, as it might at first appear,
is yet one which has been carefully prepared
from the artistic point of view. It masks no
desire for a return to crudeness of life, or to
poverty of surroundings* It is launched
against superfluity, assertiveness and vul-
garity in the appointments of the home. It
is a strong plea for that delight of the edu-
cated eye, ear and mind which is well
named ** Holy Simplicity/*

11

CABINIIT MAKING

'TpHE purpose of The United Crafts in
•*• producing their distinctive cabinet
work is to conform to what may be called
the primitive structural idea* That is : the
form which would naturally suggest itself
to a workman, were he called upon to ex-
press frankly and in the proper materials,,
the bare essential qualities of a bed, chair,,
bench, table, or any other object of this
class* In this way, imitations or even
reminiscences of ** styles ** arc avoided, and
the provision for practical needs becomes
the requisite of design. The desire for
novelty is also restricted and suppressed ;
since it is as hostile to the production of
artistic work, as are the memories of old
models which represent the requirements of
times, manners and customs quite other
than our own* From the history of art, it
is apparent that novelty introduced for its
own sake, and without reason for existence^
leads quickly to over-elaboration and thence
to grotesqueness ; while it is equally true
that the tendency toward simplicity, in
itself, denotes the growth of the aesthetic
faculty*

12

la

14

The prominence of the struc-
tural idea in architecture has invariably led
to beauty : a great example of this principle
being found in the best period of the Gothic.
The decline of the structural idea^ with its
confusion and loss beneath decoration, is as
invariably the mark of decadence; as may
be learned also by reference to the buildings
of the Middle Ages* This principle may be
carried with advantage from great to small
constructions, and it has been adopted by
The United Crafts in their cabinet work
as the only one which can lead to satisfying
results and durable success. Lines which
clearly define their purpose, appeal to the
mind with the same force as does a concise,
direct statement of fact ; for the art of de-
sign is governed by the same laws as the
art of speech* The charm of monosylla-
bic words can not be gainsaid* They
fasten themselves in the mind, while flow-
ing periods pass on and are forgotten* In
the objects which daily surround us, and
form the background for our lives and ac-
tions, simplicity and chasteness of form
play the part of monosyllables* Once en-
joyed, these qualities become an essential
of contentment and happiness.

Simplicity, which, in other

15

words, is but the prominence of the primi-
tive structural idea^ is then the chief quality-
sought after in the cabinet-work of The
United Crafts, Following this, comes the
provision for free space which is, in itself,
the ally of the decorator. Useless parts of
objects, however usual and time-honored,
are eliminated, proportions are made com-
pact, and the whole design accommodated to
the dimensions of the ideal middle-class
home.

The United Crafts, in pro-
ducing models of the simple, straightforward
character described, desire the co-operation
and patronage of the builders and owners
of homes. Upon request, designs and sug-
gestions for interior decorations and cabinet
work in all its branches will be furnished
by competent authorities in their special de-
partments, and with the utmost regard for
the place and surroundings to which the
articles are destined*

16

^ COLOR J^

^*^HOICE in color corresponds to the de-
^*^ gree of sensitiveness and education
possessed by the eye* The barbarian and
the infant seize only the most striking notes
in the color-gamut* But as age, training,
or civilization advances, the individual ap-
preciates the semi-tones, the quarter-tones,
perhaps even the finer divisions of the chro-
matic scale*

Certain colors were created
to rest and restore the tired visual organ,
and chief among them is green* In proof
of this statement, we may cite as illustra-
tions the green fields and woods ; the wel-
come sight, in summer time, of green shut-
ters in the old, narrow, brick-wmled streets
of a city ; or the pleasing veil cast over a
view, when seen through the medium of
green-tinted glass.

Allied to the effect of green is
the influence produced by gray* The soft,
slightly cloudy atmosphere of the environs
of Paris holds enchanted the painters —
foreign as well as native — who there con-
gregate* And this landscape, once seen, is
ever afterward carried in the mind, together

17

with a sense of quiet happiness that is unique
in the experience of the traveler.

Another attractive color-ele-
ment resides in the deeper, richer tones of
brown. This is instanced in the boles of
trees, which have a fascination all their own ;
in the wainscoting; of old castles and man-
ors, in the ** weathered '* wood of old musi-
cal instruments ; in the backgrounds of old
Dutch pictures, which make mystery about
a single point of light*

These elements : the greens,
the grays and the browns, are used almost
exclusively in the workshops of the United
Crafts ; appearing in the woods of the cab-
inet-work ; in the leather of wall-hangings,
seats and cushions ; in the stains for ceilings
and floors. These color-elements as now
used, are the result of long and constant
experiments, and they constitute one of the
distinctive qualities of the workshops. The
United Crafts have already found a large
patronage for these artistic and durable
stains, which they recommend with abso-
lute confidence to architects, decorators and
the owners of homes*

18

w

20

J- LEATHER ^

^PANISH leather, whether used in the
^^ curtains of churches, the wall-hang-
ings and the chair-coverings of old grandees,
or yet in the boots of ** Miles Standish, the
Captain of Plymouth/' once had a reputation
unequaled by any article of its class in the
world. Two requisites were necessary to
its production: superior skins and skilful
processes of curing and coloring* The
hides of Spain were noted from the days of
the Roman occupation, and they still con-
tinue to supply one of the chief articles of
export from that country. The other
clement: that of skill, was furnished by
the labor, patience and intelligence of maru
The result of this union of excellent
material and well-applied thought added
something of value to the wealth and the
beauty of the world* And so it is ever in
the meeting of commercial honesty with
artistic instinct ; whether we seek illustra-
tions of our principle among the leather-
workers of Cordova, the Wool and Silk
Gilds of Florence, or yet in the modern
examples furnished by the followers of the
William Morris movement in household

31

art^ Among the happy results of the last
named class, are the beauty and value at-
tained by the leathers which are sent out
from the workshops of the United Crafts.
Through the use of none but flawless
skins and by great perfection of process, an
article is obtained which is at once service-
able and highly decorative* The skin,
when finished, is soft and pliant, yielding
to the touch aknost as if it were still fed by
the life of the animaL The surface is so
treated as to afford by its lack of uniformity
a constant play of lights and shadows*
The colors produced are browns of various
tones, deep water green, and a red approach-
ing the ruby shade, which is known as
Elizabethan or Tudor* These leathers
are designed for wall panels — as a substi-
tute for tapestries or paper hangings ; — for
screens ; for large seats, or smaller cushions ;
and as coverings for chairs and benches*
They are especially commended to interior
decorators, to whom the best facilities for
examining specimens will be afforded, upon
request made to The United Crafts*

23

^4

The increasing sale of the COBB-EASTMAN HAND
MADE FURNITURE is a striking proof of the correctness
of the years old adage that ** The best is the cheapest".
Made of selected lumber, by skilled cabinet makers whose
orders are, not '*how cheap ", but ** how good "; and finish-
ed like the furniture of Colonial Days, it possesses a durabil-
ity and style which will remain to please the possessor,
when the slightly cheaper factory^made goods are relegat-
ed to the attic or the auction room.

Making these pieces in multiples, we are able to offer
the same quality as custom furniture, made one piece at a
time, at an appreciably lower price.

METAL WORK

y^N authority in architecture regrets
^ ^ that **no advantage whatever is
taken of the decorative properties inherent
in the construction and in the details neces-
sary to the building/*

The same writer elsewhere
pays a tribute to that most artistic people,
the Japanese, ** who have few articles for
solely decorative purposes, but who de-
mand elegance and beauty in every article
that is intended for daily use/*

Acting upon the principle
contained in these thoughtful passages, the
United Crafts have given much attention
to the metal work wnich is necessarily in-
troduced into many pieees of cabinet-mak-
ing. The workshops send out finely con-
ceived and wrought hinges, key-plates,
candle-sticks and sconces, which are in
harmony with the productions of the other
departments of the Gild* Correspondence
is solicited, and designs will be furnished
upon request.

25

LEADED GLASS

I^HE pleasing effect of leaded glass is too
•'• well known to need comment;
whether it presents some Bible story, or
church legend, or whether it occurs in some
small and simple muUioned window, or yet
again in the door of book or China cabinet
tmt has come down to us from colonial
times*

This article of use and orna-
ment has been successfully introduced by
The United Crafts in both interior decora-
tion and fine pieces of cabinet work. The
qualities sought are : simplicity in design,
suavity of line, and fineness of material; the
glass being accommodated in tint to the
general color-scheme.

As in other departments of
the Gild, designs of leaded glass and esti-
mates of cost will be furnished to those who
may be interested.

26

28

CLUBS AND orricES

^f^HE United Crafts have recently spccial-
••' ized in articles of furniture designed
for use in clubhouses and corporation offices.
They offer massive tables,
table-desks, seats and chairs, which will be
permanently pleasing because of their simple
and dignified style, and which, by reason of
their smooth, dull surfaces and their lack of
applied ornament, may be easily kept in
good condition*

Correspondence from com-
mittees will receive close attention and
satisfactory designs will be furnished upon
application*

BILLIARD and POOL TABLES

** ■''HE simplicity and fine finish charac-
•■• teristic of the cabinet work of The
United Crafts are qualities essential in bil-
liard and pool tables*

The design shown in the
present brochure has already found favor
with all who have tested it, and it is ex-
pected to gain a still wider popularity*

29

"THE CRAFTSMAN"

«*nrHE CRAFTSMAN^' is a new
•■• magazine devoted to the interests
of art allied to labor^ and published by The
United Crafts*

Its first number was issued
in October, J 901, and was a monograph
upon William Morris. Since that time, it
has maintained a connected series of arti-
cles; the last (February) issue being prin-
cipally given up to some considerations
upon Robert Owen, the apostle and martyr
of Factory Reform in England.

The coming (March) num-
ber will contain, as usual, only such matter
as relates to and furthers the purpose of the
publication : which is the dissemination of
artistic and economic information*

Subscription orders for the
magazine (price $2.00, the year; 20 cts.
the single copy) should be addressed to
The United Crafts, their Associates, or
booksellers*

30

31

32

Copyright, 1902, by Gustave SticKlex

TKings Wrougtit
by the United Crafts

at E^astijvood, N. Y.

PRICE LIST
Page One.

No. 2688— Large Arm Chair. 37 in. high, 34 in. wide, 33 in. deep.

Oak; Frame finished §24.00

Oak, with Denim Seat and Back Cushions 32.50

Oak, with " Terry" Seat and Back Cushions 34.50

Oak, with Tapestry Seat and Back Cushions 46.50

Oak, with Roan Skin Seat and Back Cushions 52.50

No. 173— Bungalow Settle. 39 in. high, 70 in. long, 30 in. deep.

Oak; Frame finished 43.00

Oak, with Denim Seat Cushion 51.00

Oak, with "Terry" Seat Cushion 53.50

Oak, with Tapestry Seat Cushion 58.50

Oak, with Roan Skin Seat Cushion 67.50

Pillows extra, each :

Denim 2.25

"Terry" 3.Q0

Tapestry 4.50

Roan Skin 7.75

No. 729— Stool. 15 in. high, top 16x20 in.

Oak: Roan Skin 6.25

No. 51— Plant Stand. 22 in. high, top 14x14 in.

Oak, wood top 5.50

Page Two.

Special Hall Settle with cabinet over.

Oak, with leaded glass doors and Roan Skin Seat
'' Cushion. Made to order only. Prices quoted on

application.

Page Fiye.

No. 189 — Bungalow Settle. 47 in. high, 84 in. long, 34 in. deep.

Oak; Frame finished 848.00

Oak, with Denim Seat Cushion 67.00

Oak, with "TeiTy" Seat Cushion 60.00

Oak, with Tapestry Seat Cushion 66.50

Oak, \ dth Roan Skin Seat Cushion 78.00

Pillows, each, Denim 2.26

"Terry" 3.00

Tapestry 4.60

Roan Skin 7.75

Jfo. 446 — Library Table, 30 in. high, top 48 in. in diameter.

Oak, wood top 28.00

Xo. 446-L — Same table, with Spanish Leather top 43.50

'So. 2603 — Arm Rocker, Oak, frame finished 7.00

Oak, with Denim Seat and Back Cushions 10.75

Oak, with "Terry" Seat and Back Cushions 12.60

Oak, with Tapestry Seat and Back Cushions 15.50

Oak, with Roan Skin Seat and Back Cushions 22.25

No. 2604 — Arm Chair to match, same prices.

Page Six.
No. 191 — Lounge, 29 in. high, 74 in. long, 30 in. wide.

Oak, frame finished 18.00

Oak, with Denim Seat Cushion 26.50

Oak, with "Terry" Seat Cushion , 28.50

Oak, with Tapestry Seat Cushion 36.00

Oak, with Roan Skin Seat Cushion 45.00

Pillows, extra, each.

Denim 2.25

"Terry".... 3.00

Tapestry 4.50

Roan Skin.., 7.75

No. 514 — Magazine Cabinet, 44 in. high, 12 in. wide, 15 in deep,
inside.

Oak, 5 shelves 10.00

No. 6143^ — Same Cabinet, 36 in. high.

Oak, 4 shelves 8.60

Page Nine.
No. 445 — Library Table. 30 in. high, 70 in. long, 30 in. wide.

Oak, wood top 38.00

So. 415-L — Same table, Spanish Leather top SoG.oO

No. 527— Book Case. 66 in. high, 84 in. long, 14 in. deep. Oak.. 108.00
No. 2590 — Large Arm Chair.

Oak; Frame finished 11.50

Oak, -with Denim Seat and Back Cushions 16.00

Oak, with " Terry" Seat and Back Cushions IS.OO

Oak, with Tapestry Seat and Back Cushions 20.75

Oak, with Roan Skin Seat and Back Cushions 28.50

Page Ten.
No. 961 — Sideboard, 50 in. high, 70 in. long, 25 in. deep.

Oak, wrought iron or old copper trimmings 84.00

No. 44— Plant Stand, 30 in. high, top 13 in. x 13 in.

Oak, wood top 4.50

Oak, tile top 7.75

Page Thirteen.
No. 935— Dining Table, 30 in. high, 96 in. long, 54 in. wide.

Oak, wood top 60.00

No. 1301— Dining Chair. Oak ; Rush or Roan Skin Seat 7.25

No. 1301-A — Arm Chair. Oak; Rush or Roan Skin Seat 10.75

Page Fourteen.
No. 966 — Sideboard, 69 in. high, 60 in. wide, 18 in. deep.

Oak; wrought iron or old copper trimmings 88.00

No. 1301-A— Arm Chair. Rush or Roan Skin Seat 10.75

Page Nineteen.
No. 102 — Four-fold Screen, 65 in. high, 64 in. wide.

Roan Skin, black iron or dull brass nails 56.00

Page Twenty.
No. 967 — Sideboard, 39 in. liigh, 60 in. long, 24 in. wide.

Oak; wrought iron or old copper trimmings 72.00

No. 934-E — Extension Table, made round or square.

30 in. high, 54 in. wide, to extend 10 feet 51.00

54 in. wide, to extend 12 feet 56.00

60 in. wide, to extend 10 feet 57.50

60 in. wide, to extend 12 feet 62.50

Page Twenty-three.

No. 51 — Plant Stand, 22 in. high, top 14 in. x 14 in. ; Oak 5.50

No. 964 — China Cabinet, 69 in. high, 42 in. wide, 16 in. deep.
Wrought iron or old copper trimmings.

Oak, leaded glass doors 90.00

Oak, plain glass doors 80.00

No. 965 — Serving Board. 36 in. high, 60 in. long, 17 in. wide.

Oak 824.00

No. 9663^— Same Board. 40 in. long. Oak 20.00

Page Twenty-four.

Dinner Gong. 37 in. high, 24 in. wide, gong 18 in. diam.

Oak 24.60

Page Twenty-seven.

No. 629 — Pool and Billard Table. Sizes and Prices quoted on

application.

Page Twenty-eight.
No. 444 — Office Desk. 30 in. high, 54 in. long, 30 in. wide.

Two upper end drawers arranged to accommodate 3x5 in.

card index system. Oak, wood top 62.00

No. 444-L — Same Desk. Spanish Leather top 72.00

No. 2639fo— Screw and Spring Office Chair.

Oak, Spanish Leather Seat and Back , 21.50

No. 2639— Standing Chair to match , 18.50

No. 2584— Arm Chair. Oak, Roan Skin Seat and Back 13.00

Page Thirty-one.
No. 620— Bedstead. Head, 48 in. high ; foot, 36 in. high ; 80 in.

long, 58 in. wide. Oak 36.00

No. 614 — Chest of Drawers. 62 in. high, 42 in, wide, 32 in. deep.

Oak ; wrought iron or old copper hinges, Red Scented

Cedar Drawer Bottoms 70.00

No. 618— Somno. 34 in. high, 20 in. wide, 16 in. deep. Oak 14.50

No. 440— Table. 28 in. high, top 30 in. in diam. Oak 10.76

No. 440-L— Same Table. Roan Skin top 18.60

Page Thirty-two.
No. 616 — Dresser. 33 in. high, 54 in. long, 22 in. wide.

Oak, Red Scented Cedar Drawer Bottoms 48.00

No. 619— Mirror, 32 in. high, 46 in. long. Oak, plain glass 20.00

No. 521— Desk, 41 in. high, 36 in. wide, 14 in. deep. Oak 30.00

No. 2618— Chair. Oak, Rush or Roan Skin Seat 4.26

No. 2617— Rocker to match 4.26

January, i902.

For Subscription to ''The Craftsmm,

To Th ./ Crafts.

1 . .
veqae:'
for one year beginning 'wiih

"Date

"THi: CRAFTSMAN."

** npHE CRAFTSMAN*^ is a montWy
•■• publication devoted to the interests
of art allied to labor* Its initial number was
issued in October, 1901, and it has already-
created for itself a distinctive place in maga-
zine literature* ^*The Craftsman** advo-
cates a reform which shall improve the
economic position of the workman, and in-
crease the comfort of the American home by
reacting against the love of display and the
desire to rival and imitate, which are the two
most powerful disintegrating forces now at
work in the social system*

The March number of the
magazine will contain as its chief article a

paper upon ^* The Gothic Revival : ^* a sul>
ject which is treated by request and which
is one that conceals beneath an artistic form
a vital and present social interest* The
contents will also include a paper upon '^The
Economic Foundation of Art/' by Mr* A»
M. Simons, editor of **The International
Socialist Review,'' and a review of ** The
Art of Building a Home/' by Parker and
Unwin, the well-known English Archi-
tects.

From the Chicago Tribune, January I3th, f902,

** * The Craftsman,' published under the aus-
pices of The United Crafts and edited by Gustave Stickley,
promises -work which, if the standard of the first number be
maintained, "will be competently covered. It is a handsomely
printed and illustrated monthly -which should be ■welcomed
by everyone interested in the artistic advancement of the
country,"

From Boston Ideas, December f4th, t90t,

" The United Crafts at Eastwood, N. Y„ in
October published the first number of 'The Craftsman,* a
monthly devoted to the interests of free art in all lines of hu-
man effort, and manifesting its aim in its ow^n handsome typo-
graphical appearance as well as in the spoken words of its
text, * The Craftsman * is strikingly attractive, vitally inter-
esting, and potently valuable in helping to solve the modern
labor-problem,"

From the Brooklyn Daily Eagle, December tOih,
J90t,

** "We learn with pleasure that the new maga-
zine called * The Craftsman,* of which a cover design cut was
inserted in * The Eagle * recently, is meeting with much
favor in Brooklyn, The magazine carries no advertisements,
is entirely devoted to art and is deserving of support.**

From the Piedmont ( West Virginta) Herald, Janu-
ary 17th, t902,

"'THE CRAFTSMAN:' A master hand
seems to be at the helm in the editorship of this publication.
This is seen alike in choice of subjects and in manner of
illustration. The fourth number which is now before us is
an attractive and elegant brochure. The printer's work is
handsomely done, and the 'art preservative of arts' is as
well represented as we have ever found it in a monthly pub-
lication,**

From the Chicago Public, December 7th, 1901 »

** The initial number of * The Craftsman * ap-
pearing in October, is devoted to William Morris and his
artistic and socialistic work. This new monthly is published
by a guild of cabinet-makers and metal and leather workers,
w^hich has been organized to produce artistic house-furnishings.
It is intended to parallel in America the house w^hich William
Morris established fifty years ago in London, The magazine,
which is a fine piece of work typographically, is illustrated
with photographic reproductions of the decorative house-fur-
nishings of a simple and dignified kind.**

From the Book and Nemjsdeater, December, 1901*

"An octavo monthly magazine called 'The
Craftsman,* has recently made its appearance from Eastwood,
N, Y, The text is written by Irene Sargent ; the first number
being chiefly an article on "William Morris : * Some Thoughts
on His Life, Work and Influence.* It is needless to say that
these monographs are thoroughly appreciative and should the
publication not gain fame and fortune for its promoters it will
be not for lack of intrinsic and extrinsic value.**

From the Gazette {Schenectady, N* Y,), January
17th, 1902,

"The January number of 'The Craftsman*
is a magazine that delights the artistic sense. It has for its
object the stimulation of an interest in handicraft. Several
articles representing different phases of the textile industry are

offered; the hlsfc>rical, economic aod social side each being
given its place. The illustrations are in keeping with the
purpose of the magazine, and furnish added argument for a
more simple life and a return to the disused method of handi-
craft in which the worker felt pleasure in his labor.'*

Referring to the household furnishings produced
in the ^workshops of *' The United Crafts Z*^ the
Lincoln {Nebraska) Courier, of Dec*28, J90tfSays:
** The desks, chairs, sofas and tables are parts
of squares. The lines are strong, clean and, above all, secure.
The sub-conscious influence of furniture and the familiar ob-
jects of the home upon a child is being pointed out by students
of child-culture. While the world of the child is small and
contains few objects, and w^hile the mind of the child is most
plastic and retains, after age has obscured the impressions of
middle life, distinct recollections of youth, it is apparent that
furniture which teaches a lesson of sincerity, strength and
simplicity plays no unimportant part in the formation of stand-
ards of character value."

"THi: CRAFTSMAN/'

Subscription price $2,00 the year, in ad-
vance. Single copies 20 cents each*
Obtainable from The United Crafts,
from their Associates, or from news-
dealers.

THe United Crafts, PublisKers,
E-ast-wood, Ne-w YorK.

February. 1902.

y\ S of old, industry passed from its rude stone age to
•^ ^ a finer one, so it is again in our own day. The
coal age, with its waste not only of implements, but of
life, is passing into a finer economy — of electricity, of art.
We are rising not only to finer mechanics and labor-sav-
ing, but to a subtler understanding of laborer-saving*

Thought from a. recent essay by Patrick Geddes of Edinburgh,